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stravinsky

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stravinsky last won the day on November 19 2013

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  1. b1 - 14B A Home Destroyed. Is the opening on Violas related to any of the major themes? Often Williams has caught me out with musuc I've been listening to for decades before realising this or that snippet from whichever score is actually leitmotivic. This is testament to his unassuming genius.
  2. A mine of information as ever. Thankyou Just listening to the opening of "The Sandman Attacks" again. Fantastic turbulent/threatening music with that strange little Piccolo moment. Would also love to hear this cue separated.
  3. Can I just ask what a "Discrete Cue" is? Also there is a fantastic edit of the 1977 Score on YouTube by "Film Score Media" who may actually contribute to this forum. How on earth he separates "Imperial Attack" into two cues is beyond me but it works beautifully. I know its unlikely but a future release of the OT scores with each and every cue separated no matter how short would be dream come true.
  4. Considering the score is so important in terms of film history I think it would be a great idea. However I'm so used to hearing the LSO recording from 77. Couldn't someone do a mock up with one of these virtual orchestras? Be fascinating to hear.
  5. I know this is probably old hat. This is the first time I've looked at the cue sheet for "ANH". Does this mean there are full scores somewhere for cues which were never recorded until they were revised (then recorded)?
  6. I don't know. I never listened to the side of the tape containing CE3K when I was a kid. The music sounded too "weird" for me at that age. I just bought a copy of the Cinephile CD recently. It's amazing how "British" the orchestra sounds.
  7. For me Goldsmith was essentially a rhythmic composer and a timbre junkie. He could create music which was at once archaic and futuristic like POTA. But then again he could disapoint in the breadth of a single score. For instance with Capricorn One. He immediately grabs our attention with a staggering main title of visceral arrest, unearthly motoric cogs in interlocking pulse patterns in the Docking cue. But then he ruins the score with a sappy kind of lame love theme which is really just a sequence of notes rather than an actual melody. Williams just could not ever have imagined the sonic territory of a score like The Mephisto Waltz for instance. Whilst Goldsmith lacked the melodic facility and breathtaking rapture of Williams at his height. I have recordings of almost everything Goldsmith wrote from 1959 to 1979. His greatest era. Its useless really to compare these two gas giants. I think in their own different ways they are completely equal. Heaven could include Close Encounters/The Red Pony Hell could be Alien/Images. Complete parity of genius.
  8. I think we can all agree that the output of the devine Mozart was more elegant than Haydn. Just like with Goldsmith and Williams, Haydn came a very very close second. Otherwise this is all merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative. DAHLINGS!
  9. The fact is that Goldsmith even at his very best couldn't compare with the terrifying passion and sheer metaphysical weight of Williams. Dont get me wrong I love Goldsmith but he is Haydn to Williams Mozart.
  10. Yes there are highlights like Basic Instinct and Total Recall in an otherwise largely moribund landscape. Darlings!
  11. Well there is that For me Poltergeist was the last truly GREAT score he ever wrote.
  12. Drum machine hell much of it. Too much electronica for my liking. A poverty of ideas especially in terms of melody.
  13. Jerry was a high flyer in the 60s but eclipsed by Williams in the 70s. I love both composers but Williams is the daddy of them all. Also remember Williams never had a single score rejected whereas Goldsmith had plenty. Plus the fact that Goldsmith's output declined in quality by the mid 80s whereas Williams continued to improve. Just two entirely different composers I guess.
  14. I've set up playlist with the help of the one featured by Bespin. Is there anything missing from Williams' fanfare repertoire?
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